Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Palmiyeler - Gel Yanıma - Chord
Key G major – E minor Chords Bm7, Am7, Cmaj7, Gmaj7, Em Easy key C (capo 7)
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Key: G | Em
Capo: 0
Gmaj7 Em Cmaj7 Am7 Bm7
Gmaj7 Em Cmaj7 Am7 Bm7
Am7 Bm7 Am7 Bm7 Am7 Bm7 Gmaj7
Am7 Bm7 Am7
İlk gördüğüm an karar verdiğim andı
Bm7 Am7
Gördüklerim yeterliydi, senin olmaya
Bm7 Am7
Sözler, tatlı düşler, beklerim hala hayatta
Bm7 Gmaj7
Tek bir söz yeterliydi, sana varmaya
Cmaj7 Bm7 Cmaj7
Gel yanıma gel, kölen olayım
Bm7 Cmaj7
Gözlerime bak, Tanrıyı bulayım
Bm7 Am7
Ümidimi ver ve devam et
Bm7
Bu evren yanımda sonunda
Am7 Bm7 Am7
İlk gördüğüm an karar verdiğim andı
Bm7 Am7
Gördüklerim yeterliydi, senin olmaya
Bm7 Am7
Sözler, tatlı düşler, beklerim hala hayatta
Bm7 Gmaj7
Tek bir söz yeterliydi, sana varmaya
Cmaj7 Bm7 Cmaj7
Gel yanıma gel, kölen olayım
Bm7 Cmaj7
Gözlerime bak, Tanrıyı bulayım
Bm7 Am7
Ümidimi ver ve devam et
Bm7
Bu evren yanımda sonunda
End of song Play again?
Palmiyeler - Gel Yanıma Tabs
NotesX
Harmony analysis
Palmiyeler – Gel Yanıma: key and chord analysis
The song opens on Gmaj7 and ends on Bm7. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G major side because it opens on G and G is heard 5 times against 2 for Em. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to G or to Em; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Gmaj7 | Tonic — home | G · B · D · F# | 5× |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 15× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 21× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 8× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 2× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 2× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| IIImaj7 | Gmaj7 | Relative major — the bright side | G · B · D · F# | 5× |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 15× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 21× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 8× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | — |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 51 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening Gmaj7 lays a solid floor for everything that follows. Bm7, Am7, Cmaj7, Gmaj7 carry the song: iii7–ii7–IVmaj7–Imaj7 relative to G, v7–iv7–VImaj7–IIImaj7 relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on Bm7, the song seals G as home.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Palmiyeler - Gel Yanıma Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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